Scott Candey is a visionary within the North American experimental dark ambient/noise scene. Releasing harsh projects under the names of Cinder Skin and Blunt Force Trauma, it is Gruntsplatter that is his most ominious creation. Drowning dark ambient noise, Gruntsplatter's compositions are like the sounds of a volcanic core, the pressure engulfing and overwhelming your senses into sheer obliveration. Featured on several compilations, as well as releasing 7"'s, two cds: a split with Slowvent, and his own full-length release on Crowd Control Activities, Gruntsplatter is a malable force of overpowering ambient destruction. Besides releasing his own musical entities, Scott is also co-leader of North America's finest fanazine Worm Gear, as well as leading an experimental label- Crionic Mind. Read on and let the darkness engulf you. This interview was conducted over the summer and fall of 2000.

Hello Scott. How do you like living in SFCA? Have you lived there all your life? What do you do for a living besides music?

I really like San Francisco, I've only been here 3 years, but as far as cities go it's a good place to be. The weather is very much to my liking and there is a lot of good things here culturally. It's a city that can support a small noise scene with shows fairly regularly and all of that. Aside from music I do freelance design work, I used to work in print full time, doing design and file prep and stuff, but I just recently switched jobs and now am doing Tech Support for a company that streamlines a lot of stuff for printers over the web.

When did you start getting interested in extreme music-death, grind punk? What were some of your favorite bands in the beginning and how did your interest spread to electronic and industrial music to Power Electronics?

I think I was 14 when I started listening to stuff like Metallica and Slayer and Black Flag, Circle Jerks. Before that there was of course Iron Maiden, Ozzy and all of that... Favorite bands from those days... I worshiped the European Trash scene, Kreator, Destruction, Deathrow, Coroner, Tankard... I still love those bands, though not so much what they are doing these days. Who else, The Accused, Cryptic Slaughter, Crass, Rudimentary Peni... that stuff all still holds up great, there is just so much, the old Earache releases... Music was more vibrant then than it is now, because it was still new. You hadn't heard 15 bands that sound like Carcass when "Reek of Putrefaction" came out, and thus those bands had much more impact. VoiVod is one of my all time favorites, and they are still doing good stuff, probably one of the biggest musical influences on me, though it's not so obvious on the purely experimental stuff. I have always just been a fiend for music so I was buying punk and metal constantly, from that I started buying some early industrial stuff like Neubauten, Controlled Bleeding etc and that was pretty much where I found Noise... Controlled Bleeding's "Hog Floor" record was my first complete noise record I think, and to this day they are one of my favorites.

How did you meet up with Marty and form the coalition of Worm Gear? Are you satisfied with the evolution of this publication and how do you think it contributes to the scene? I think that there are not enough mags covering Power Electronics.

Marty has been my best friend since 6th grade, we have known each other since we were kids, and have slogged through hell together over the years. I eventually decided about 9 years ago I needed to get the hell out of Northern Michigan if I was ever going to do anything with myself, but the zine eventually arose as a way for us to work closely on something even though we were on opposite sides of the country. I am pleased with the progression of the zine, we are doing 10,000 issues now, and I think our writing has improved, we've added some additional writers that are doing great, and have developed a reputation for our honesty, knowledge of the material and intelligence. We still cover almost entirely underground bands, and we are able to move our issues because they are free. The distributors want to help you move it when you are doing good work, and have been a huge help in making Worm Gear what it is. Covering experimental music is one of the things that helps to distinguish us, and people seem to appreciate the variety.

How did the Blunt Force Trauma project come together and what about the extreme graphics that compliment this release? What was the intention and goals of BFT? Will there be another future one?

I think my obituary will somehow make reference to the cover of "Bled Out"... It seems to keep coming up, and the album is 3-4 years old. People either love it or hate it... I had released a split cassette between a project called Torture Chamber and Gruntsplatter. Jon Canady of Dead World was in Torture Chamber, that project fell apart and he went on to start Deathpile. We were in frequent contact back then and decided we wanted to do another release together, but since we had just done the split we didn't want to do another one of those, so Blunt Force Trauma is what we came up with. At the time there was a lot of Harsh Noise being released that in our eyes was little more than Noise for noise's sake, there wasn't a lot of depth or energy behind it, so we decided we wanted to do a project that was in that vein, but done the way we felt it should be done. If it was going to be harsh than it should be a complete package and that's where the art factors in. I'd like to see us do one more release for this project, but whether it will happen or not I don't know, Jon and I are both busy with a million other things. If someone offered to release one I'm sure we could get something done though.

Why do you think there is such an abundance of sexual and graphic violence associated with Power Electronics, as bands like Whitehouse, Bloodyminded, and Skin Crime use this imagery it certainly has spread its influence.

Well, people are fascinated by the limits of humanity, what the human mind is capable of and what the cause and effect of that is. You see it everywhere, not just in Power Electronics, just look at the true crime section at your favorite bookstore. Sex and Death appeal to our more primitive appetites I think. People have a fascination or a fixation with the dark side of life almost universally, they are two elements that have been ritualized by cultures throughout history... it's why you get rubbernecking on the freeway when there's an accident, it's why porno sites are so pervasive and profitable on the internet when real business's come and go all the time. It finds it's way into power electronics or death metal because people are more honest about these things in the underground, and there is a population there that is willing to hear it as explicitly as possible. Inhibitions are dropping as a whole in society I think, we are accepting of more and more things that were once taboo. Look at all of the Reality TV these days, from deadly police actions, to crap like Survivor or the Real World. Or how something like the JonBenet Ramsey case is smeared everywhere, it's one murder, but this whored up little girl has been put everywhere, still, after nearly 3 years. That is meat for the beast, but no one is crying foul. Sex and Death are to two things that will always get someones attention and the more lurid the more it peaks our interest. Power Electronics is taking that fixation and being honest about it.

You also have a project and release "Cinder Skin". Please elaborate on this. Since it was one of your first releases, give your thoughts on it now.

Cinder Skin is effectively dead now, though I am right now starting to work on some new material in a similar vein under the name Grume. Cinder Skin was bass guitar, Drum machine, vocals and noise, more structured and traditional than my other stuff. I like most of the songs on the tape still, but I didn't have the tools to present that project the way it should have been presented, and as a result didn't promote it very well either. The sound quality is not what I would have liked it to be, there were equipment problems through out and all of that sort of thing. Given all of that the tapes turned out all right, but ultimately I was disappointed with this release. Which is why I have buried the name and am starting fresh, I have some better gear now, some better means of recording and hopefully this new project will achieve what I'd hoped for with Cinder Skin.

What inspired you to create Gruntsplatter and what sort of emotions and atmospheres are present and/or created through these compositions?

Gruntsplatter was formed when I realized I'd made more noise tracks for Cinder Skin than I had structured tracks. The focus for Gruntsplatter has always been to create something evocative. For me experimental music is a very visual medium, and it's also very individual. No one walks away with the same impressions from a track they surrender themselves to. My atmospheres are generally pretty bleak, but in that there are several elements and emotions churning together, or at least I hope so. My position has always been to not dictate too much in the tracks as far as my personal intent because the more you tell someone what they are hearing the less they can discover on their own. That's why I don't use vocal samples anymore and most of my own vocals are extremely obscured in the mix. I'd rather people find something, than me tell them what they are listening to.

How has Gruntsplatter evolved through your compilation appearances, your split with Slowvent, and your new cd Death Fires? What are some of the goals and aspirations of Gruntsplatter?

I think that I have broadened my scope as I've gone, the extremes between my harshest tracks to my most ambient seem to expand all the time. I've been able to add a lot more depth to my more recent recordings due to some new gear. Playing live has helped me sort of re-focus myself a lot, and gotten me using old techniques I'd begun to overlook as I got more electronics and that has been great. I'm happy with the way the project has evolved, I think all of the releases are a bit different while still capturing that Noise Ambient feel that I have always held as a foundation. My goals have already been exceeded with this project, getting signed to Crowd Control Activities was more than I ever expected, so now I just hope to be able to keep releasing new stuff and challenging myself.

You also have many other projects besides Gruntsplatter so can you please speak about these. How are they different/similar and what paths do they tread? Why the need for so many projects?

Other projects... Umbra is a project I do with Stephen Petrus of Murderous Vision, this one is perhaps most similar to Gruntsplatter, but still different I think. We have one release "Unclean Spirit" out on The Rectrix. The music is sort of low-fi death industrial with an emphasis on a sort of detached creepiness, we are working on a new record right now. Triage is a project I do with Chet Scott from Ruhr Hunter. This project deals in a more clinical electronics vein, sharp analog pulses, and dark ambient under currents, a very sort of cold and crisp atmosphere. It makes me think of surgical tools. There is new material for this project in the works as well. Then there is Grimes, this is just me focusing more on beat driven experimentation, sort of like noisy trance type stuff. I'm not sure if I'll do anymore of this or not. Also in the works right now, though still without a name, I am working on an "electronic doom" project with Jason Walton from Nothing, who also plays bass in Agalloch and Sculptured, Nothing is his primary project for you curious folks out there. The reason for the many projects is that it allows me to experiment so that I am able to keep Gruntsplatter a little more focused, and the other reason is that I get to work with people who I like and respect in these collaborations, and we are able to record without even being in the same city.

How has the experience with your label Crionic Mind been for you, rewarding? What are some future plans and goals that you seek to fulfill with the label? How long do you see CM surviving?

The label is beginning to achieve what I have been hoping for all along, I will have released 3 CD's this year, the distro catalog is doing well, and things are looking very positive for future releases. I already have the next couple CD's for early 2001 secured. The label is a lot of work and a lot of frustration, but it is rewarding as well, my first two CD releases Gruntsplatter/Slowvent Split CD and the Lefthandeddecision CD are both very close to going out of print, right now I have the Deison CD and KK Null/Moz CD at the pressing plant, those should be done in a couple weeks. It's been a good year for Crionic Mind. I see the label continuing as long as I have the money to do it, and as it grows it pays for more and more on it's own, so the end is no where in site right now... Perhaps the most exciting thing for Crionic Mind right now is the formation of a new side label. I recently decided to start a side label focusing on Black Metal, Dark Metal and Doom, it is called Bindrune Recordings, and I should have a website up and information about our first release posted in the next month or so I hope. Marty, my partner in Worm Gear, will be running the day to day operations of the label because I don't have time and he is far more qualified to promote in that scene than I am, we are both anxious to get this thing off the ground and are hoping for the debut release, a 7" by Agalloch, part one in a trilogy, to come out in early 2001... the Crionic Mind site will have a link to the Bindrune site once I have something online and there is some news to report.

What sort of literature inspires you? Favorite authors, books, philosophers, historical time periods?

Some of my favorite authors include Henry Miller, Charles Bukowski, Celine, Camus, Dostoevsky, Hubert Selby... there are quite a few. I read a lot of non fiction to. Historical periods I find most interesting, generally relate to the Vikings and the Celts, I have read a fair amount about that and the runes and such things, and I'm also interested in World War II History and have done some reading on that. The times of plagues I have read a lot about, and devoted one entire release to that era, The "Pest Maiden" 7" and bonus cassette all dealt with the plague times. There are others, but those are what jumps to mind.

What do you think separates Gruntsplatter from the rest and how does Gruntsplatter contribute to the scene? What is the most rewarding part of Gruntsplatter, Worm Gear, BFT, and your label?

I don't know that I can say what separates Gruntsplatter, it is unique to me because it is mine, someone else might be better suited to say if it is unique in the scene. I try and make the project what I want to hear, and that means incorporating depth and movement and atmosphere, I'm certainly not the only one doing that, but if you asked me who I sounded like I couldn't really say... but perhaps I'm just too close to be objective. I think the most rewarding thing of these you mentioned or in anything is knowing that you have done something you can stand next to and be proud of. Praise from outside is secondary to pleasing myself, if I have satisfied myself I have succeeded.

Since you do cover black and death metal in the review section of WG, who/what has been some of the more outstanding artists/releases that you have heard?

There have been quite a few we've been doing this for about 6 years now. Most of the metal I hear about anymore is a direct result of the magazine. I don't think I've even looked at another metal fanzine in probably 3 years. Not because I think we are the pinnacle or anything, but I just don't come across them, and they don't get sent to me now that Worm Gear doesn't review zines. So most of the metal I pick up on comes from the review section either because I have to review it, or Marty has reviewed it and I trust his opinion. I love Doom Metal, Dark Metal and a lot of Black Metal, It takes a lot for a death metal band to capture my attention much these days, Yattering's release on that Polish label was one that really impressed me I remember.

What do you think of the strong rise of extreme political views in black metal with bands such as Nokturnal Mortum, Veles, Nargaroth, Absurd, and others showing strong fascist/NS views and propaganda?

The similar has been true in Experimental music as well. I think that some of these people are talking out of their asses at least to some degree, not all of them, but posturing is part of it. There is a certain atmosphere that invoking those elements will lend to a project. The symbolism has a power that is undeniable and it's a way that some of these bands distinguish themselves... You mentioned Absurd, that is one band that I think is clearly advancing on their notoriety, the couple tracks I've heard are just atrocious fumblings that barely resemble anything close to black metal, but they espouse national socialist (whatever that actually means in the year 2000) views and one of them killed somebody so people recognize them. I don't know that there is necessarily a rise in this type of thinking, it has become more acceptable at least in the underground to voice these type of opinions, so there appears to be more projects out there focusing on it. There was a time when record stores would flat out boycott Skrewdriver records because of the blatant and unforgiving racist attitude. Now you can find Nokturnal Mortem in most decent chain stores, most metal distro's carry things like Graveland etc. nobody really even notices or just doesn't care. Frequently the lyrics are undecipherable, and I think because it's not as obvious and in your face as some of the skinhead punk it blows right past people. And the another side to that the black metal bands are dressed up in make up, and cloaks and wielding cosmetic swords, the skinhead bands looked like they knew how to fight and would act on their words, whether they did or not, and that makes it more difficult to discount them... People with more extreme ideas gravitate away from mainstream culture and are more prone to stumble into the underground, with technology and instruments lowering in prices, and the ability to make a decent sounding record in your bedroom some of these people are going to use music as a vehicle for their ideas. And some of them have had great results, there is some phenomenal music that falls into this category, and there is crap, same as anything else. It's not a criteria that I would not listen to a band over.

Since the '93 Waco incident has come back to light, what is your views on this? Who do you think was a fault? What is your view on the idea that the govt treats citizens with unpopular views as the enemy and uses military force to crush them?

I think our government has a tendency to overestimate the threat of those who fundamentally disagree with it. The Michigan Militia outcry after the Oklahoma City Bombing is another example. There are great pains taken to label these sorts of groups as wackos, extremists etc. and when you preface their activities with descriptions like that you trivialize and discredit anything they are saying as being irrelevant because they are "crazy". Do I think the Branch Davidians with their arms were a threat to society, not from anything that I have read on the subject. But under the situation the government was entitled to shoot back. Blame is fogged, the government shouldn't have been there in the first place, but as I understand it, the compound was tipped off by the local sheriff that the raid was coming and were able to take up their arms. Had they not been tipped it no doubt would have gone off much differently.

Ok, now if you dont mind, here is a small list of artists and since I follow your wisdom in WG, and you are a fine connoisseur of electronic art, please give your short view on each artist and a favorite release(s), if any.

Controlled Bleeding

Controlled Bleeding is one of my absolute favorites, their output is so diverse and unique I think. They have been at this forever, and are still challenging themselves and their audience, you never know what a Controlled Bleeding record is going to sound like when you buy it and I like that. Favorite release from them would probably be "The Drowning" there are a couple tracks on there that I think are among the very best experimental tracks I have heard. Other great ones include "The Poisoner", "Body Samples" there are just too many.

Merzbow

I'm fairly ambivalent about Merzbow, when he's on, he's on, but when you have so many releases there are going to be weak moments that get exposed. He's done some stellar work, but there are forgetable releases as well. I like "Anti-monument" and the Bondage Performances releases because they show more dynamics than some of his more straight forward stuff...

Coil

Coil I really liked a few years back, I don't follow them so much any more, but records like "Scatology", "The Hellraiser Themes" "Gold Is The Metal" even the much more club friendly "Loves Secret Domain" are great... all of their early work was strong.

In the Nursery

I have 2-3 of their releases, but I never really listened to them all that much. Not without their merit, but never really hooked me.

KK Null

Null is another one that will surprise you, he's always working on something and moving in new directions. Zeni Geva is an amazing project as well. As far as favorites, I have to plug my new release and say the split CD he participated in for Crionic Mind is my favorite.

Vidna Obmana

Vidna Obmana grew on me. I didn't like a lot of the ethno ambient stuff for awhile and I think that is largely because i never gave it a fair listen. I had received a few releases by him from Projekt to review for Worm Gear and that was really the first time I gave that stuff a fair shake, and there is some of it I really like now. Great headphone music. Most experimental is actually, but the quiet nuances of the more minimal releases like Vidna Obmana definitely benefit from headphones.

Nurse W/Wound

NWW is a band I was always hesitant to buy because they is so much material there that to like it too much was to set yourself up to try and track down a couple dozen releases. So I only have the split with Whitehouse and an old cassette. What I've heard I liked, but that's not really enough to give a real opinion.

Current 93

I don't like David Tibet's voice... I have tried, but I just don't. I love Death In June, and a lot of the Apocalyptic Folk stuff, but Current 93 has never really grabbed me. I have 3 records from them, and there are tracks I like, but nothing I'd particularly recommend. A lot of people will think I'm a dumb ass for that, but what are ya gonna do?

Swans

The Swans are amazing, truly. Visceral expression at it's purest. I prefer their earlier releases to the later releases, and have said many times that I think Jarboe really fucked up the Swans, but even the more recent stuff is good. I just don't care for her voice at all. Gira is a genius though an the rest of them, such a talented collection of musicians making music at it's most visceral.

Non

This project has never done much for me, there is good and bad, but Boyd Rice for the most part doesn't really standout for me as someone doing noteworthy stuff.

Muslimgauze

I don't know enough about them to really offer an opinion, I have one release I like, but there were dozens of releases.

Dissecting Table

Dissecting Table I really love, the aggression and bombast is just glorious. Probably my favorite of the Japanese scene.

Aube

He's another I never explored too much because there is just so much out there. I have a few releases that I like, but don't listen to them all that much. It's well done noise, but for whatever reason it never really occurs to me to put it on.

Laibach

Laibach were great years ago, they have just become too silly, but "Nova Akropola", "MacBeth", "Occupied Europe" those are all great discs, that was my first exposure to what I call "War Music" which has since become more of a genre with projects like In Slaughter Natives and so on, great stuff. I love Bombast.

SPK

SPK is another favorite, even after they went for the more ethnic slant they were good, but the early stuff is just outstanding. And they were doing threatrics long before most. A really inventive powerful band.

Ok. I think that is all for now. Thank you very much for this interview.

Thanks very much for the interview, sorry for being so slow in my response. Anyone interested please check out the website or drop an email.